「夜照亮了夜」林葆靈2013創作個展 | “Night Illuminates Night” — Lin Bao Ling Solo Exhibition, 2013

Lin Bao Ling / Nocturne in Blue and Purple V / oil and acrylic on canvas 112 x 162 cm (100P) / 2012

展期：2013/03/03– 03/31
開幕酒會: 2013/03/03(日) 3:00pm
地點：台南索卡藝術中心 (台南市安平區慶平路446號)
電話：06-2973957

Exhibition Period: March 3–31, 2013
Opening Reception: Sunday, March 3, 2013, 3:00 PM
Venue: Soka Art Tainan (No. 446, Qingping Rd., Anping Dist., Tainan City, Taiwan)
Tel: +886-6-297-3957

「光影」是生產藝術的必要，亦可說是數個世紀來讓藝術家全神貫注的琢磨想像。建築上，大量運用光影的清真寺、佛寺和教堂以增加內部神聖感是設計的要點，光影於建築內部所產生的效果被刻意導入設計中，讓信徒內心產生神聖的感受－將我們內在最深處自我存在的感受和光影所張顯的生命永恆之流結合起來。繪畫上，文藝復興晚期的卡拉瓦喬（Caravaggio 1571-1610）在畫面佈局上也運用了革命性的明暗對照畫法(Chiaroscuro )來營造強光與黑影之間的對比張力。

林葆靈這近十年（2003-2013）也以「光影」為創作重心。視察他的創作脈絡，發覺「光影」面貌隨著他人生歷練的累積、心境的轉變以及畫面形式與技法等諸多因素的更動，而展現出不同層次的語彙表現。對於光影有特殊感情的林葆靈，不斷嘗試光影表現的可能性，特別是在人造光源的探究，更是樂此不疲。

林葆靈於2011年拿下金車新銳油畫獎第一名， 2010獲李建中多元技法創作獎的首獎以及美國福瑞門基金會(Freeman Foundation, U.S.A.)「2010/2011年度亞洲藝術家獎助」(2010/2011 Asian Artists Fellowship), 於2011年初前往美國的佛蒙特藝術中心(Vermont Studio Center)駐村創作，在駐村期間發展出令人耳目一新的水墨表現技法，將城市夜景那強烈光影風景捕捉於筆尖那流動的彩墨之間，擺盪著轉瞬即逝的抽象狀態。他的視點不斷在改變、在游移，而這樣不按牌理出牌的構圖措施，反讓畫面全體保持一種調和性。他不斷試驗在各種場景的人工光源，有自然的、街景的、速度的和黑暗的等各式各樣的光，令作品發展出一種光線與色彩遠勝過於造型描寫的風格。

創作的過程，林葆靈反覆作著「增光」與「減光」的動作，在收與放、抽象與具象……兩極之間徘徊拉扯。人類一生都試圖與時間與流變對抗、害怕衰老、畏懼死亡。光影即是光陰，描繪光影，讓稀釋的顏料在畫面上流動而後慢慢乾固，或許亦是潛意識裡在試圖凍結如急流般的時間的一種無謂舉動。讓光與影/明色與暗色，以及冷色的藍與暖色的紅在畫面上層層累積，相互覆蓋交融、似亦有著學習包容與接納表裡兩面以及以辨證的角度看待事物的意味存在。

此次索卡藝術中心展出林葆靈個展【夜照亮了夜】，展出已往較常見的城市夜景外更多了歡樂的遊樂園作為題材，呈現豐富及多元的創作風貌，此展覽將帶您窺探鑽研「光影」近十年的林葆靈，那炫光奪目的美麗果實，台南索卡藝術中心邀請您一同剖析藝術家創作之歷史縱深並品味其延展開來之創作平面。

林葆靈創作自述 Artist Statement

（English Version below ↓)

法國文學家羅蘭巴特(Roland Barthes， 1915－1980)在他的著作《戀人絮語》中有一篇標題取名為〈夜照亮了夜〉，基本上是引用了一位叫讓‧德‧拉瓦庫(Jean de la Croix, 1542-1591)的聖徒所寫的句子:「夜是黑暗的，但它照亮了夜。」巴特在篇中用「夜」來隱喻心理與存在的狀態。他提到兩種夜，一好一壞， 分別為「黑暗」與「昏暗」，前者是「非贏利」的, 且平靜而微妙; 後者紛亂嘈雜，慾望噪動，文中的「我」時而「在昏暗中」（estoy en tineblas）, 時而「在黑暗中」（estoya oscuras）。羅蘭巴特在篇中寫道「第二種夜包住了第一種夜， 黑暗照亮了昏暗: 『夜是黑暗的，但它照亮了夜。』」[1] 看似有些不合邏輯, 但令人聯想到黑紙上的灰色更顯明亮; 大白天裡路燈開著也照亮不了什麼; 而為了描繪光, 必須描繪影。當我們籠罩在黑夜時，地球的另一半是白晝， 因為陽光而產生了夜; 而夜照亮了夜。許多被我們視為對立的事物或許皆是一體兩面, 不斷地流動易位, 有著矛盾統一的本質, 如同承載著相反象徵意義的光與影。

在無數個無眠的夜裡，我在畫布/紙上描繪黑夜城市中的迷茫光影，反覆體驗著兩種夜。城市裡大量的人造光絢麗且帶給人們方便; 卻也帶來了光害與能源的消耗。我們有著偏好， 對某些事物過分迷戀， 因而盲目; 但世間往往沒有絕對的好與壞。創作的過程， 我反覆作著「增光」與「減光」的動作，在收與放、抽象與具象……兩極之間徘徊拉扯。人類一生都試圖與時間與流變對抗, 害怕衰老, 畏懼死亡; 光影即是光陰， 描繪光影，讓稀釋的顏料在畫面上流動而後慢慢乾固， 或許亦是潛意識裡在試圖凍結如急流般的時間的一種無謂舉動。讓光與影/明色與暗色，以及冷色的藍與暖色的紅在畫面上層層累積， 相互覆蓋交融, 似亦有著學習包容與接納表裡兩面以及以辨證的角度看待事物的意味存在。

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[1] 作者:羅蘭巴特 譯者:汪耀進、武佩榮,〈夜照亮了夜〉,《戀人絮語》, 上海人民出版社,
2011, 頁163

Artist Statement

by Lin Bao Ling

French literary theorist Roland Barthes (1915–1980), in his book A Lover’s Discourse: Fragments, included a section titled “Night Illuminates Night,” which essentially quotes a line written by the saint John of the Cross (1542–1591): “Night is dark, yet it illuminates the night.” In this text, Barthes uses “night” as a metaphor for psychological and existential states. He describes two kinds of night—one good and one bad—namely “darkness” and “gloom.” The former is “non-possessive,” calm and subtle; the latter chaotic and noisy, filled with restless desire. The “I” in the text moves at times “within gloom” (estoy en tinieblas), and at other times “within darkness” (estoy a oscuras). Barthes writes: “The second night envelops the first; darkness illuminates gloom: ‘Night is dark, yet it illuminates the night.’”[1]

At first glance this may seem illogical, yet it calls to mind how gray appears brighter against black paper; how streetlights in broad daylight illuminate almost nothing; and how, in order to depict light, one must also depict shadow. When we are enveloped in night, the other side of the Earth is in daylight—night itself exists because of sunlight. Thus, night illuminates night. Many things we regard as opposites may in fact be two sides of the same whole, constantly shifting and exchanging positions, possessing a contradictory unity—like light and shadow, which carry opposing symbolic meanings.

Through countless sleepless nights, I have painted the bewildering lights and shadows of the nocturnal city upon canvas and paper, repeatedly experiencing these two kinds of night. The abundance of artificial light in the city is dazzling and convenient, yet it also brings light pollution and energy consumption. We all have our preferences and become excessively attached to certain things, to the point of blindness; yet there is rarely anything in the world that is absolutely good or bad. In the process of creation, I repeatedly engage in acts of “adding light” and “subtracting light,” wavering between opposing poles—restraint and release, abstraction and representation. Throughout life, human beings continually struggle against time and change, fearing aging and dreading death. Light and shadow are themselves the passage of time. To depict light and shadow—to let diluted paint flow across the surface before slowly drying and solidifying—may also be a futile subconscious attempt to freeze time rushing past like a torrent. Allowing light and shadow, bright and dark colors, cool blues and warm reds to accumulate layer upon layer upon the picture plane, covering and merging into one another, perhaps also reflects an attempt to learn tolerance and acceptance: to embrace duality, both within and without, and to view things through a dialectical perspective.

[1] Roland Barthes, trans. Wang Yaojin and Wu Peirong, “Night Illuminates Night,” in A Lover’s Discourse: Fragments (Shanghai: Shanghai People’s Publishing House, 2011), p. 163.